Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Ukraine and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1970.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Bologna kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Rakim to the disco kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Freddie Wadling. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Hardrive,
Visage,
Amon Düül II,
Al Stewart,
The Alarm Clocks,
The Associates,
Model 500,
The Misunderstood,
Soft Cell,
8 Eyed Spy,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Pere Ubu,
Fad Gadget,
Rowland S Howard / Lydia Lunch,
Arcadia,
The Flesh Eaters,
Derrick May,
48th St. Collective,
Rapeman,
John Coltrane,
Black Sheep,
the Human League,
Nils Olav,
Minutemen,
Wolf Eyes,
Kurtis Blow,
Jacques Brel,
Drive Like Jehu,
Marcia Griffiths,
Lakeside,
Morten Harket,
Brand Nubian,
Roy Ayers Ubiquity,
John Lydon,
Fela Kuti,
The Raincoats,
Warren Ellis,
The Last Poets,
Pharoah Sanders,
Motorama,
Echospace,
Sex Pistols,
Gang Starr,
a-ha,
Boredoms,
Barrington Levy,
Tom Boy,
Youth Brigade,
Schoolly D,
Barclay James Harvest,
Dorothy Ashby,
The Walker Brothers,
The Pop Group,
Lizzy Mercier Descloux,
Funky Four + One,
Marmalade,
Ajijia Myrayebe,
Yazoo,
Stereo Dub,
Outsiders,
Essential Logic,
Kerrie Biddell,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.